Dia
by swampophelia
Summary: Her mind isn't the only scene of the crime he's done. A Spec Script post-Inception. Was supposed to come after Minotaur Rising, which was originally my post-Inception sequel, but this one kept demanding to be written/plotted. See more in the A/N. Gen fic.
1. Author's Note: READ FIRST

**Author's note:**

UPDATE: 9/17/2010.

I'll keep updating this first chapter since everyone lands here first anyway when you click the link. This makes updating/commentary more convenient.

So after much deliberation, I have decided on a mini-series format. Each Episode will have roughly 4-5 Acts including the cold open for each episode. I have found that adapting the screenplay layout to the limited word processor here in ffnet gives me a serious headache. I can understand why some readers would not wish to read this simply for the layout alone, but I felt that I had to keep to the discipline of proper layout (at least when I do this in Word) to help me hone my skills.

I have learned there is a difference between a shooting script and the first draft script, and I pretty much seesawed between the 2 approaches, mostly because I wanted as much as possible to give a visual sense of what kind of action is taking place. This of course means that I have to struggle with camera views, and I sort of gave up on the whole thing by Act I. I essentially have my own Producer Spouse looking over my shot choices, and I have to argue that I'm not writing for the cinematographer. I have also learned that though I've plotted out 6 episodes, the scene breakdown is what kills me and keeps me from updating. I've constantly been rearranging scenes between episodes and am quite tempted to cut out some. I've also figured out that I'm horrible at action dialogue (another reason for delay), so I've had to take special care on this and hopefully it doesn't sound too stupid. and yes i'm dreading the fight choreography.

All scenes currently published have been updated to identify the "actors" playing the original fic roles. (this is my dream, in my head some of them had been cast already)

Daphne - a circa-The Island Scarlett Johansson. She was cast in Lost in Translation when she was 19 and in The Island at 21 and no one had any problem with her dicking around with men 20 years older than her. Given that Ellen Page is 22 when she was shooting the movie, ScarJo is deliberately cast opposite Ellen Page here because they are sexually diametric opposites onscreen. Seriously, if Ellen Page had a wider built and bigger boobs, the discussion around the Ariadne character would have been completely different. I had originally thought of casting Blake Lively, but ScarJo at least has a wide acting range. And Blake is too tall. Although this is set X years after the movie Inception (you'll find out when you read through), both women would pretty much look similar in age at this point though the character of Ariadne should be some years older than Daphne.

Seiber - Jesper Christensen. See Casino Royale and Quantum of Solace for reference.

Black - Mark Sheppard. His voice is a character alone, which is why he is perfect for Mr. Black. He's Romo Lampkin, BSG for reference. But he was also in Leverage.

Brunette Man - Michael Trucco. He just has to be in here. Full stop. Because he is delicious to look at (according to some women). He is the anti-Lee, the anti-Castle and now the anti-something.

**

* * *

**

So this is a spec script. So far as I know (as I don't read much stuff in the A/A ship except those that came really recommended), there hasn't been any fics that attempt to screenplay.

I was originally working on a 2 part sequel to the movie, with the presumption that Dom Cobb didn't wake up in the end which would be "movie length". I originally wanted to give novel treatments to both, but as I kept getting caught up with the details and the backgrounds and multiple viewings of clips and interviews (yes I'm a pointwoman apparently) i ended up losing my thread mostly because i'm getting information in canon that conflicts with where i want the story to go. I know that AU is fine, and considering that the fandom is still debating what exactly is canon I know I shouldn't be that bothered, but that's the kind of writer I am I guess. I need to FEEL that I'm writing something true.

I have always said to anyone who would listen (sorry if I bore you all) that Inception would have made a great TV series, with the BSG/Caprica treatment from SyFy channel. In case any of you have never seen these series, everything they do is both big scale and intimate and grounded in a realism that makes robots and viper ships dogfighting in space feel so REAL. Nolan has always intimated that that was what he wanted Inception to feel like, that it was so real you can't tell if you're dreaming or not. I have been toying with the idea of being a showrunner for the show (I know presumptive me), and that is where I stop dreaming. A standard American show needs 13 episodes and then maybe a back 9 ep order. Japanese shows can do fine with 10-11 episodes (less filler that way). Looking through my A arc and B arc, I don't know if I have enough material for a Japanese 10 ep, let alone an American 13 ep. This is why TV usually isn't written by one person, but by a team of writers under a showrunner. At best, I think I may have enough for maybe 3-4 90 minute episodes so I might actually be building up to a mini-series. Or I could just go back to the original plan and write this out as a really long movie.

Or I could just nix the whole screenplay idea and go back to novelization. But it wouldn't be an easy read, I realize that if I novelize this it would be peppered with jargon and well, a dry tone. My favorite writers are not exactly the most popular ones. Please let me know what you guys think, if this format works with you guys, and if you're interested in investing time to wait for something longer or not. Or if anyone is interested in making this TV, I'm looking for a writing partner (because real life is getting crazy). I'm pimping the Inception Trope Forum, so we can discuss it there. I love reviews, but I also think it would be great to actually discuss things out in the open in the fandom and the fora is a great place for that.

If played out, the Cold Open should run between 5-7 minutes, depending on the editor/director.


	2. Pilot Cold Open

**DISCLAIMER: Inception and its original characters depicted in the movie are owned by Chris Nolan. Inspiration has been taken from several ancient and modern retellings of the Ariadne myth, including works of Maurier, Martin and LeGuin. Some naming conventions have been taken, but no significant details such as dialogue have been used. **

**WARNING: All other persons, names, locations, events, organizations, laws & regulations, products and technologies are either fictitious or used fictitiously. Only the plot can fall under Creative Commons license.  
**

* * *

A/N: Glossary

V.O. - voice over

O.S. - off screen

INT - interior

EXT - exterior

* * *

**PILOT COLD OPEN:**

**INT. CHIEF ARCHITECT OFFICE – NIGHT**

**Extreme close up on carpet, camera at low angle slowly angling up to reveal a wider shot of the office. The office is on penthouse floor of a high rise with a spectacular view of a nondescript metropolis at night. The walls are ROSE COLORED and the lighting is mostly soft halogen.**

**Camera POV shows ARIADNE is sitting in front of a massive WOODEN DESK with what appears to be a GLASS TOP located across the floor-to-ceiling window. The desk is located CENTRALLY in the room, and behind her are floor-to-ceiling shelves with various books, a GLOBE and sculptures. There are NO PICTURES. To the left is a door leading to what appears to be her private WASHROOM.**

**She is dressed in a sharply TAILORED button-down long sleeved shirt. The underdesk area has no cover though there are drawers on both sides, and it can be seen that she has paired the top with a SOFT skirt with a PRINT traditionally found on SCARVES and plain, dark pumps. Her HAIR is the same length that it was in the previous film, and she appears older. There is no calendar or other indicator of the time. She is typing frenetically on a large LAPTOP, which is connected to dual MONITORS. On one side of the laptop there are PAPERS haphazardly scattered.**

**CUT TO:**

**Camera angle is behind Ariadne, showing that the glass surface of the table is actually a TOUCHSCREEN and she occasionally flicks her fingers from side to side. On the LEFT MONITOR, there is a picture of a mid-rise BUILDING while on the RIGHT MONITOR the same building is set against others on what looks like a level view TOPOGRAPHIC MAP of a hillside cul de sac. As she taps on the TOUCHSCREEN, a complicated looking software interface on the LAPTOP MONITOR indicates a command has been ACTIVATED and the building on the left monitor changes in appearance while on the other monitor the same changes are reflected simultaneously. It looks like she is harmonizing the building's façade with the rest of the overall panorama.**

**CU on Ariade's face. Her eyes seem to roll up then goes back to her laptop monitor. She stretches her arms but subtly moves her hand through her papers. CU on her hand as it clutches at something underneath the papers. Smash cut to Ariadne's eyes which remains lowered to the monitors. There's an offscreen tinkling sound.**

ARIADNE

(whispers)

Come on…

**Smash cut to the ceiling camera overhead angle shows Ariadne's back, the ceiling vent BEHIND the desk has moved aside silently and a GLOVED HAND emerges. A figure dressed in a BLACK NINJA SUIT costume with FULLY COVERED HEAD emerges slowly. As one of the shoulders is revealed, the camera angle smash cuts to Ariadne's hand as she reveals a SILVER LETTER OPENER, camera angle goes level and shows her turning around and throwing the letter opener at the figure. The projectile hits the shoulder and the figure gives a surprised grunt and falls to the floor.**

ARIADNE (V.O.)

Well that confirms it

**Close on figure struggling to stand up, one hand on the projectile.**

ARIADNE (V.O.)

Normally wouldn't have made that throw.

**Camera shows Ariadne stepping away from her desk and approaching the figure cautiously, but stops after she is a foot away.**

ARIADNE

You can't get anything from me. I know nothing. You'll find no safes here.

**The figure rises and in one jerk pulls out the projectile. The resulting grunt of pain reveals it is a man.**

FIGURE

We knew you'd figure it out.

ARIADNE

(expression is somewhat startled, then unreadable)

What was the book? I assume Eames won?

**Figure removes mask to reveal ARTHUR, who also looks much older.**

ARTHUR

He called it at 5 minutes. I said it would only take 3. It should be about 4 now…

ARIADNE

Of course you're talking in Topside time. This isn't going to be pleasant for you.

**She looks behind her to her main door but quickly turns back to Arthur with an expectant expression. Arthur is now in a charcoal gray THREE PIECE SUIT.**

ARTHUR

You've…changed, way too much. (tosses back the letter opener which Ariadne catches)

ARIADNE

And you haven't. You're still skulking around, doing things…illegally.

ARTHUR

You wouldn't meet with us…

ARIADNE

Why would I? I haven't seen you lot in five years. I thought I made it clear I didn't want to be involved with any of you ever again?

ARTHUR

Just wanted to take a chance maybe you just meant Co…

ARIADNE

Don't even say it. (stops for a beat) Is he still… not catching you deliberately? That shouldn't work well for him.

ARTHUR

It wouldn't work well for me if he did.

ARIADNE

Who hired you? Please don't tell me Saito's involved because that would just be predictable.

ARTHUR (visibly winces)

He's part of the group yes. (pause) Just to assuage my ego, what did our architect do wrong?

ARIADNE

You mean…is the paint on the walls off or is my wingback not cushy enough? You've been at this game for what, seven…ten years now? It's not your architect. YOU got your research wrong, like thinking I would keep anything your clients could possibly value here. (backs away) I have nothing the Consortium could possibly use.

ARTHUR

Well, you practically live here or in a hotel, and you never stay in the same room. You haven't visited any of your apartments in months. You never even visit your bank, so that was off the table. Your office is the only constant for you.

ARIADNE

HR is usually more careful with their screening of new hires. I'm going to have to give them a piece of my mind.

ARTHUR

We knew he hired YOU for a reason.

ARIADNE

We're building a new world Arthur, a real world. That's what architects do, that's what I signed up for. There's nothing wrong with working for Fischer seeing as I helped create the man he is today. He's made to spec. What is so wrong about building a more sustainable future?

ARTHUR

He's never suspected?

ARIADNE

I don't think so…maybe. I don't really care as long as trusts me implicitly.

ARTHUR

That's your M.O. isn't it? Get them to trust you…

ARIADNE

You benefited from everything I've done. You're alive today because of all that.

ARTHUR

Alive and chased around by the Agency like a common criminal, which I'm not. (O.S. pounding on the door)

ARIADNE

I don't think he thinks of you like that. Speaking of chasing, are you really sure you still want to be here? (Ropes can now be seen from the window) I suppose not. How much longer do I have here?

ARTHUR

(checks his watch, while pulling out a GLOCK from his waistband)

Here, another hour.

ARIADNE

How many levels Arthur?

ARTHUR (smiles)

Only one. I'm not lying.

ARIADNE

You really shouldn't play architect on top of extracting and everything else. We've established you don't multi-task very well. (sits back in her chair) I assume I'm going to actually see you Topside soon.

ARTHUR

(approaches Ariadne, leans in close)

Is it so bad, seeing me again?

ARIADNE

(makes eye contact)

Yes it is. It's going to be bad for you.

**A figure can be seen descending from the rope by the window, getting ready to crash through. The O.S. pounding on the door is getting louder. Arthur smirks at Ariadne, then shoots himself in the temple. The figure crashes through the window, revealing MR. CHARLES dressed in a black suit.**

MR. CHARLES

Are you alright?

ARIADNE

I'm alright Mr. Charles. (her hand slips the modestly bloodied letter opener under the papers) Please see to the rest of the security team.

**Camera shot widens to reveal only Mr. Charles and Ariadne are in the room. Pounding on the main door is getting more frantic. Mr. Charles gingerly steps through the broken glass to get to the main door. Camera cuts to Ariadne again, her hand flicking at the tabletop touchscreen and the right monitor zooms out to reveal a top level view of a topographic map of an island. Different colored dots are overlaid on the map. Cut to Ariadne's face.**

ARIADNE (whispers)

Just a bit too slow…Mr. Charles. I could never get you just right.

**Cut to Mr. Charles opening the door, letting in the security contingent.**

ARIADNE (V.O.)

I don't want to.

**CUT TO ARIADNE'S OFFICE - NIGHT.**

**Camera shows Ariadne is slumped on her desk, wearing the exact same outfit. There is only a laptop on the same desk, no papers or any other clutter/equipment. Arthur is wearing the exact suit. He is removing the needle from his wrist then proceeds to remove the same from Ariadne. EAMES, dressed in a janitor's outfit, is coolly arranging the IV tubes in the PASIV DEVICE. A blonde woman in her mid-twenties who looks older than her age, DAPHNE, Australian, is in a button down shirt with matching vest and skirt moving around expertly in killer heels. From her body language, it is obvious that she is anxious as she arranges papers on the floor next to the desk and stuffs them back in the desk drawers.**

EAMES

I told you she'd catch on to you. How militarized was she down there?

ARTHUR

Surprisingly not so much. She's apparently the big bad ass in there. She skewered me with a letter opener.

DAPHNE

You mean she did the Buffy on you? Figures, you dress like a vampire stuck in the 40's in real life.

ARTHUR

Hey I resent that! So you still don't have anything here? (peers at some of the papers)

DAPHNE

(shoves all papers in hand into drawer and closes it)

I've been her executive assistant for three months now. There's nothing. I hacked into her laptop but there's nothing there but CAD files for the New World real estate developments.

ARTHUR (smiles)

Well it looks like my gamble paid off then.

EAMES

(looks at Arthur expectantly)

Well?

ARTHUR

I got a name. And apparently she likes to hide things in plain sight now.

**The team has packed up everything into Eames' CLEANING CART and heads for the door out of the office.**

EAMES

That was risky, for her.

ARTHUR

She knows what extractors look for. She's prepped in her own way. She's gotten paranoid.

EAMES

You mean she knows what Cobb would look for…if he ever does this again.

ARTHUR

Sparrowhawk doesn't fly anymore. Priestess saw to that.

DAPHNE

(opens the door and looks around at the hallway)

Arthur? What file name should I look for?

**INT. END OF HALLWAY – NIGHT**

ARTHUR

I don't think you'll have a job when she wakes up.

DAPHNE (smacks Arthur as she hisses)

Arthur!

ARTHUR

(opens the door wider and lets Eames out with the cart, then turns to Daphne)

We only have a few minutes. Run to the server room, use the security codes and get everything you can on "Dia". We meet at the rendezvous at 0600. We only have one shot because she's going to change all the codes the moment she's out. Hopefully the night watchmen won't catch on to us.

DAPHNE

Are you certain she won't report this to the Agency?

EAMES

My goodness child, haven't you been paying attention? That woman would rather be robbed than talk to her ex.

**INT. ARIADNE'S OFFICE – NIGHT**

**Camera cuts to Ariadne' back, with the door to the office closing in the background as the extraction team exits. Camera closes in on a piece of paper jutting out of the drawer Daphne stuffed earlier. A letterhead can be seen which reads "Fischer Sustain - Solutions for a Better World". The logo on top is flat 2 color depiction of Earth, with a grey ring around it. Inside the ring is a labyrinth.**

**FADE OUT. OPENING TITLES.**


	3. Pilot Act I

**DISCLAIMER: Inception and its original characters depicted in the movie are owned by Chris Nolan. All other persons, names, locations, events, organizations, laws & regulations, products and technologies are either fictitious or used fictitiously.**

* * *

A/N: Glossary

V.O. - voice over

O.S. - off screen

INT - interior

EXT - exterior

* * *

**PILOT. ACT I.**

**INT. WAREHOUSE – DAY**

**Door opens and Eames steps in dressed in a mismatched cheap suit, with a takeout tray of coffees and a bag of baked goods. Camera dissolves to other side of warehouse wehre Arthur has several maps spread out on a long table. His back is turned to Eames and his ear is on a cellphone. CU of Arthur's face, scrunched up in apprehension.**

ARTHUR (into the phone)

So what you're saying is you've never heard of it? There's nothing in your network on this?

**There is a pause again as Eames wordlessly hands Arthur his coffee and crosses over to the other side of the table, studying the largest global map.**

ARTHUR (cont'd)

We need to meet. Our Hacker may have the only concrete intel and it's too important to drop online or hand off remote.

MALE VOICE (V.O.)

Arthur, so eager to play cloak and dagger. (pause) I agree though, some things are better done old school.

ARTHUR

Good, we can meet…

MALE V.O.

No, let me set up the where. Just pass by the watering hole around lunch. And come alone.

ARTHUR

No, you don't understand. You need to gather the Consortium. They need to act on this before Geneva next week.

MALE VO

You work for the Consortium Arthur, you are not a part of it. When and how the information is shared is completely up to my discretion.

**Daphne enters the warehouse, carrying a backpack. She proceeds to empty the contents – hard drives, laptops, mini-projectors – on a smaller table near the map table and proceeds to assemble the gadgets in the background, pausing only to eye Arthur to point out the gadgets.**

ARTHUR

Fine, we'll screen through the intel. But I'm telling you, Ariadne's been working on this personally. And she's too green to head the community development division.

**DISSOLVE TO:**

**INT. SAITO'S OFFICE DAY**

**SAITO is sitting at his desk in an expensively decorated, modern and minimalist corner office. The Los Angeles skyline can be seen out of his nearly 180 degree view of the city, the walls made of glass. The busy hubbub of his staff outside his office can be seen through the interior walls.**

SAITO (into a cellphone)

There's another layer of security then. I was aware that he tried to hire her before but that was back when the monster was only beginning. Fischer Sustain cannot possibly we working on clean energy alone.

ARTHUR V.O.

Which is why the Consortium has to see this first hand. I have a feeling the timing is just too good with the Geneva signing next week.

SAITO

Not on such short notice. There's only one other partner in America right now.

**INT. WAREHOUSE DAY**

ARTHUR (Cont'd)

I'll take what I can get. And one more thing, she knows about the Consortium.

SAITO V.O.

That… should not be surprising.

ARTHUR

Yes, I figured she kept track of you before she joined Fischer Sustain.

SAITO V.O.

I suppose. Noon Arthur. (line goes dead)

ARTHUR (looks at the phone)

That was rude.

EAMES

Daphne's set up.

**Eames, of the whole group, looks more tired than everyone else and looking very much into his 40's. His eyes scan the data projecting onto the 3D data display and frowns. On the screen, the clippings from the Washington Post, Financial Times and South China Morning Post flash.**

**CU on one clipping with the HEADLINE that reads DEFENSE MERGERS ON THE RISE. The COPY reads "The Pentagon may be planning cutbacks on its outsourcing of work to private contractors, but that's not stopped larger defense contractors from buying up smaller firms that sell specialty services and equipment to the U.S. government's defense and spy agencies. In recent weeks, companies have collectively spent over $1 billion buying firms that specialize in areas that are expected to be spared from the Defense Department's budget cuts and renewed consolidation efforts. Industry analysts have noted the significant level of international investment in this M&A boom, adding further controversy as the degree of private sector participation has not waned since the initial pruning during the Obama years…"**

DAPHNE (reading the text)

Fischer's been keeping track.

ARTHUR

What does this have to do with Dia?

DAPHNE

I don't understand either. Oh, I'm confirming Saito's intel. As far as media and the blogosphere goes, there's not one single hint of what Fischer is doing aside from traditional energy operations and clean energy R&D. The land development work, on the table, all look like community relations projects to mollify the public reaction to their exploration, drilling and refining operations. However (pause for dramatic effect as she types faster and finger swipes on the tabletop touch surface) when I cross reference Ariadne's portfolio with the rest of the operations, you can see a pattern.

**CU on the global map on the data display. Dots light up where energy operations are found. A different color indicates land development work. Dots match up in Brazil, Japan, various points in the Middle East, Arctic, US, Northern Europe. Only one area has only one color remaining.**

DAPHNE

There, somewhere in the Mediterranean. Fischer is doing community relations where it doesn't look like he has any other reported, and thanks to these babies (pats various hard disks) unreported operations.

**Eames gives Daphne a quizzical look**.

DAPHNE

I copied, I didn't pull them out.

ARTHUR

(points to the solitary dot)

So what's in there? Daph, super a topographic on this, and then zoom in.

**Daphne complies, hands moving quickly on the touchsurface. The zoom reveals nothing but ocean.**

ARTHUR

There's nothing there about an offshore rig?

DAPHNE

Nada. And I've checked the communications from the rival firms outside of Saito's. No one has a forecast for this area.

EAMES

It can't be oil. Geothermal? Is it wave tech?

ARTHUR

Maybe it's another R&D center, like the one they have in Scotland? Except a floating one?

DAPHNE

Actually boys, take a look at this.

**On a corner of the view field, Daphne shows the topographic map of an island earlier seen by Arthur in Ariadne's dream office.**

ARTHUR (Looks surprised)

This is it? Somehow an oil rig in Italy's backyard seems more possible.

EAMES

How in the world is this not in any of the rags?

ARTHUR (incredulous)

There's nothing online?

DAPHNE

Absolute radio silence boys. Not even a hint of white noise, even with the conspiracy theorists.

ARTHUR

Maybe that's the wrong direction. Check in with your Dutch contacts, they usually get contracted for these kinds of work assuming it's what I think it is. Anything else?

DAPHNE

There's some kind of release date for the information. It's next week.

ARTHUR (looks suspicious)

Same day as the Geneva signing?

DAPHNE

The day after. Do you think… Fischer is in on what Saito is doing?

EAMES

Ever since his inception, Fischer has been tracking Saito like a jilted lover. And to think he didn't even know Saito before then. Fischer could very well be dabbling in defense and intel but Saito would know about it. I bet it's just paranoia.

DAPHNE

We don't know who makes up the Consortium. Maybe Fischer's involved now, somehow? Explains why Ariadne would know about it?

ARTHUR

Ariadne would know about the Consortium from back in the Agency. I concur with Mr. Eames. Though she seemed to be convinced the Consortium wanted something from her, which could very well be this.

DAPHNE

But that would mean she's aware of what the Consortium would be currently interested in. We can't rule out the possibility we're getting sucked into an internal sabotage plot.

**Silence hangs over the group.**

EAMES

I'm not keen on the direction this is going Arthur. Maybe Saito is willing to make a play on anyone, including the Consortium. He might rather see it implode if it furthers his own interest. Daphne is right, until we're certain we shouldn't rule that out.

ARTHUR

You can't possibly think that.

EAMES

Then damn it Arthur, do the legwork! I know he did us favors, starting with Cobb, but we can't get sentimental in our old age.

**Arthur makes to leave the group, but stops when Daphne hands him several printouts from a nearby printer.**

ARTHUR

I was about to. (exits warehouse)

**EXT. WAREHOUSE – LOS ANGELES BACKGROUND – DAY**

**Arthur scans the papers outside the warehouse door, then takes a lighter from his pocket and burns it. He walks out of the view and camera follows him get into a black Ford Explorer and drives off out of view.**

**INT. WAREHOUSE DAY**

DAPHNE (turning to Eames)

Really _Mr._ Eames? The last impression anyone would make of Arthur is sentimental.

EAMES

(looks through maps, other papers, walking back and forth between view screen and the larger table)

I've known him long enough to read the signs.

DAPHNE (intrigued)

Really? Please let me in on it, I need blackmail material.

EAMES

It always reflects on the job. He loses focus… misses things. (Looks at the view screen) What jurisdiction does that area fall under?

DAPHNE

(hands moving on touch surface, different information scrolls out on her laptop monitor)

Two. One is Malta. Small archipelago, rich in history. Not much in terms of natural resources – in fact zero energy resources. Relies on the shipping industry, electronics, tourism, movie making. Nothing Fischer should be interested in. Plus it's in the Eurozone. The other is Tunisia. Seems closer to the African line though.

EAMES

We'll need another contingency plan if this turns out to be more political than I thought. And I really didn't sign up for politics.

DAPHNE

(Takes a PARKER PEN from her pocket and positions it on its plunger end and it falls the moment she lets go)

How many backups have you made behind Arthur's back? Is this Plan D now?

EAMES

(hard expression on his face, obviously struggling to phrase his answer)

I've learned not to rely completely on other people's version of The Plan. It's a lesson you need to take to heart, working with us. Make your own insurance, just don't double deal. (tone lightens considerably). Keep at it love, talk to your old university friends like Arthur said. I'll be back in the afternoon.

DAPHNE

(going through the bag of baked goods Eames brought in earlier)

Wait! You didn't get me my banana pecan muffin!

**CUT TO:**

**INT. FISCHER'S OFFICE – DAY**

**Camera focuses on a video wall in the darkly paneled office, CU on one screen showing a female reporter of Indian descent standing in front of the steps of a white building with the sign SWISS DIRECTORATE OF POLITICAL AFFAIRS behind her. The BBC logo is on the corner of this screen.**

REPORTER (British accent)

Preparations for the signing of the amendment to the Private Sector Security Industry Code of Conduct continues here in Geneva. Interestingly, not only are representatives of the British Private Security Coalition and the International Private Security Association be in attendance, but it has been confirmed that (cont. to V.O.)

REPORTER V.O.

Representatives of the United States Departments of State and Defense as well as the United Kingdom Special Forces will also be participating.

**Flashing on screen during V.O. is stock footage of GEN. CARNEUS – African American, late 40s - talking to soldiers on the field dressed in battle dress uniform, then standing next to the US President in formal dress uniform. Later Gen. Carneus with DIRECTOR of SF DAVID HOLMES under a NATO sign in the background.**

REPORTER V.O. (cont'd)

The signing of the Code of Conduct coincides with the anniversary of the landmark resolution of the US Blackwater scandal. The first successful claim of the US government against the abuses perpetrated by a private security firm offshore hinged on a violation against International Traffic in Arms Regulations or ITAR rules pertaining to clandestine defense training done in Colombia.

**Onscreen, Blackwater officials during a US Senate Committee hearing, then what looks like a shooting training session in the jungle with Caucasian and Latino men in combat uniform.**

REPORTER (CU)

This was highlighted by Director Georges Seiber of the Swiss Directorate of Political Affairs, who had been responsible for facilitating the original PSI Code of Conduct in his press conference earlier today.

**Onscreen SEIBER is in an interior press briefing. He is tall, white haired, approximately late 50s.**

DIRECTOR SEIBER (CU)

It is crucial to update the Code of Conduct in light of the developments in the defense and intelligence industry globally. Though all governments should retain essential intelligence and defense functions, it cannot be denied that private security contractors have taken a greater role in international defense since 9/11. The numbers of personnel with top security clearances for NATO members alone have breached two million individuals. Regardless of the policies of individual states, it is critical that any abuses like Blackwater would be prevented by recognizing the wider role and newer forms of private industry involvement in the community.

REPORTER (CU)

There are rumors that findings of a NATO classified report would be part of the new Code of Conduct. The main content of the amendment has not been released, as even deliberations have also been kept behind closed doors. Social justice groups have already cried foul over the absence of a public hearing prior to the signing next week.

**Display audio goes mute, while the reporter continues to talk onscreen.**

**Camera pans wider to reveal Ariadne, ROBERT FISCHER and MR. NIGEL BLACK, sitting in the shadows watching the display. FISCHER looks to be in his late 30s now and thinner than in the movie almost gaunt. Black is Caucasian, dark haired, his body obviously well muscled under the Nero suit.**

FISCHER (to Ariadne)

Are you sure you're alright?

ARIADNE (turns to Fischer)

They didn't find anything Robert. Nothing that isn't public at some level anyway. Please remind Mr. Black that human resources needs to follow hiring protocol. Full background checks. You can't allow such slip ups again.

FISCHER

(amused with the obvious slight against the other man in the room)

I wonder if I should've hired you as head of security instead of community developments.

ARIADNE

I wouldn't have accepted. I wouldn't want Mr. Black unemployed.

FISCHER

You're not interested in flying to Geneva?

ARIADNE (looks back at the screen)

Fischer Sustain has no legitimate reasons to be present. Plus I know I'm needed elsewhere.

FISCHER

It's all part of the brand new world. It would be good to show support, in consideration of our New World partners who are signatories to that thing.

ARIADNE (cont. watching screen)

If you feel the need to send a representative, Mr. Black should go. (pauses) The Agency is turning on the light in a pitch black room. We're used to behaving like bats - none of us will know what to do with this.

FISCHER

That's what the Accord is for.

ARIADNE

Is that what they're calling it now? I thought it was the Code of Conduct?

FISCHER

Either way, it's Dom Cobb's baby.

**Ariadne stills at the name. On screen, stock footage again of US DoS and DoD officials in Washington and in the background for a moment one can clearly see Dom Cobb and another TALL BRUNETTE MAN.**

CUT TO BLACK.

END PILOT ACT I.


End file.
